It’s not every week I do a post about an upcoming movie. But hey, after Oscars wrapped this past weekend, I’m just looking forward what’s in store this year. I had never even heard of this movie before, but when I saw this provocative poster came across my Insta, courtesy of A24, I knew I had to post about it!
It’s funny that I actually just talked about Dev Patel w/ a fellow blogger Brittany from Rambling Film blog and that we’re both crushing on him right now 😉 How awesome to see that he’s actually the leading man of this movie, in a Medieval fantasy no less!
An epic fantasy adventure based on the timeless Arthurian legend, The Green Knight tells the story of Sir Gawain (Dev Patel), King Arthur’s reckless and headstrong nephew, who embarks on a daring quest to confront the eponymous Green Knight, a gigantic emerald-skinned stranger and tester of men. Gawain contends with ghosts, giants, thieves and schemers in what becomes a deeper journey to define his character and prove his worth in the eyes of his family and kingdom by facing the ultimate challenger. From visionary filmmaker David Lowery comes a fresh and bold spin on a classic tale from the knights of the round table.
Behold the new trailer!
Glad I read a little bit about the story of the poem it’s based on, Sir Gawain and the Green Knight, whose original writer is unknown. Sir Gawain is a knight of King Arthur’s Round Table, and of course King Arthur is an extremely popular literary subject that’s been adapted countless times on film and other forms of media. Right away it gives me a bit of Game of Thrones meets Tarsem’s Immortalsvibe. The fact that it’s A24 developing it makes me extra excited for it… it looks ominous + mysterious, and a foreboding score. Not sure if it’s going to get an R rating, but looks like it’s likely pretty violent. Now, if only we can have Sean Harris play a mute for once? Sorry but I can’t stand his hoarse voice, ugh!
As I mentioned, I love Dev Patel’s casting, who over the years has proven himself to be a versatile actor who can play virtually any role. He isn’t the first actor I’d imagine to play a heroic Medieval knight, but why shouldn’t he be? I love how many theaters in the Twin Cities have incorporated many actors of colors in many literary classic adaptations of Shakespeare and Jane Austen, so why can’t they do the same in films and tv works? The important part is the actor captures the ‘essence’ of the character. Most recently Patel also played a famous literary character by Charles Dickens in The Personal History of David Copperfield.
The rest of the cast includes Alicia Vikander (Lady Bertilak) and Joel Edgerton (Lord Bertilak), as well as Barry Keoghan, Sean Harris, Kate Dickie, and Ralph Ineson. As for the filmmaker, I’ve only seen Pete’s Dragon (which I love) by David Lowery, but his most recent film The Old Man & the Gun starring Robert Redford is highly acclaimed by critics.
I’m glad I’ll be seeing more of Patel this Spring. The the David Copperfield movie is to be released on May 8 and per IMDb, The Green Knight is released on May 29.
How’s your weekend everyone? It’s been a while since I did a roundup post, but I figure it’s a good way for me to ease my way into blogging again. It’s been a particularly gratifying week as I saw two of my highly-anticipated films, Loving and Hunt For the Wilderpeople. As Winter has officially arrived, we pretty much hibernated this weekend so my hubby and I saw The Little Prince on Netflix Saturday night.
Below is my mini reviews of two of the films I saw this past week, plus quick thoughts on the New Zealander adventure comedy…
Hunt for the Wilderpeople
I became a huge fan of Taika Waititi‘s work since the hilarious vampire mockumentary What We Do In The Shadows. Well, he’s come up with yet another riotously-funny movie that could practically double as a travel video for New Zealand!
I will do a full review of this later in December, but right now all I can say is… RUN, don’t walk to rent this movie!! I’m gutted that I missed this on the big screen, not sure that it even had a theatrical release here in MN. In any case, I enjoyed the heck out of this one. LOVE the unlikely duo of veteran actor Sam Neill with newcomer Julian Dennison, a riotous 14-year-old NZ child actor with an amazing comic timing and screen presence. He’s inspired me to do a top 10 list of great 2016 performances by kid actors, so stay tuned for that!
Richard and Mildred Loving, an interracial couple, are sentenced to prison in Virginia in 1958 for getting married.
This film couldn’t have come at a better time, as America is surely in tumultuous times right now. It seems appalling that interracial marriage was still illegal in some states fifty some years ago, but have we really come that far since? The latest film from Jeff Nichols is beautifully-told, graceful and affecting as the filmmaker focused on the couple themselves instead of making a political statement. Yes of course the film has a major political and social implication, as the Supreme Court decision on Loving v. Virginia put an end to all miscegenation laws in 1967. But at the end of the day, the story is about two human beings who loved each other and wanted to raise a family together.
Both Ruth Negga and Joel Edgerton portrayed Mildred and Richard with such quiet grace and sincerity. It’s an understated performance that speaks volumes and conveys the tension as well as poignancy of what they went through. For someone withe the name Loving, Richard surely lives up to that and it’s truly a beautiful marriage built on not just love, but mutual respect. Michael Shannon has a small–but–memorable cameo as a LIFE magazine photographer who took the iconic shots of the couple as they simply hang out in their home, watching tv, playing with their kids, etc. There’s also Marton Csokas as the ‘villain’ of the story, the Virginia sheriff who arrested them.
The script, direction and performance all work beautifully to bring the Lovings’ story to life. The cinematography and music are beautiful and evocative, it works in transporting us to a certain period of Americana. But it’s the journey of the Lovings that I shall never forget. By making the film about the couple, forgoing court drama theatrics, Nichols made a deeply moving film that connected with me in a refreshingly real way.
The Little Prince (2015)
A little girl lives in a very grown-up world with her mother, who tries to prepare her for it. Her neighbor, the Aviator, introduces the girl to an extraordinary world where anything is possible, the world of the Little Prince.
Truth be told, I’m not that familiar with Antoine de Saint-Exupéry’s The Little Prince, despite it being the fourth most translated book in the world. This is the first animated feature film adaptation of the book, directed by Mark Osborne (Kung Fu Panda), boasting a terrific cast that includes Jeff Bridges, Rachel McAdams, Marion Cotillard, Ricky Gervais, etc.
I have a penchant for these kinds of imaginative stories, one that blends in reality and fantasy set in striking visuals. The little girl’s relationship with her overly-ambitious mother is an interesting commentary about the overly-structured life of an adult vs the wide-eyed openness of a child exploring the world. I have to admit it took me a while to get into this one at first, even after the girl (Mackenzie Foy, who was in Interstellar) meets the narrator, an elderly man (Jeff Bridges) who told her the tale about the aviator and the little prince. I’m often lost in the beauty of the visuals, especially the stop-motion scenes in the desert created using paper. It’s absolutely gorgeous with a dreamy quality, but yet for some reason I couldn’t connect to the story nor the characters as much as I wanted to. I wonder if at times there’s a case of ‘lost in translation’ here from the original story.
There are philosophical quotes that resonated with me however, such as “One sees clearly only with the heart. The essential is invisible to the eye.” I also enjoyed the music by Hans Zimmer and Richard Harvey, which nicely complements the ethereal, watercolor look of the film. It certainly is worth a watch, for sure it’s a technical/visual marvel, even if the film overall isn’t as breathtaking as I had hoped.
More reviews coming your way…
I’ve written up my full review of Doctor Strange coming later this week. My hubby and I saw Arrival last weekend, right after we’re back from our Zion/Vegas trip, which was truly one of the best, most affecting sci-fi film I’ve seen in a good while. I plan on writing my review of Arrival and Moonlight (one of the two October Movies of the Month!) later this week. I’ll be seeing the new Brad Pitt/Marion Cotillard spy drama Allied tonight, and if the snow storm doesn’t wreck havoc on traffic, hopefully I’ll be seeing Hidden Figures tomorrow night! Oh and my new blog contributor Laura S. also gave me a review of Fantastic Beasts and Where to Find Them, so stay tuned for a slew of new reviews in the next few weeks!
So did you see anything good this weekend? If you’ve seen any of these movies, I’m curious to hear what YOU think.
Happy almost Friday everyone! It’s been quite a busy week for me, in and out of work, so I’m glad the weekend is just around the corner!! I’m going to see Captain Fantastic tonight so very excited for that.
Ok, about those links…
Keith posted his Blindspot review on A Man Escaped
Meanwhile, Courtney argued that Swiss Army Manmight be the most uplifting movie yet
I love birthday tributes and Margaret just posted a massive one on the legendary Harrison Ford
Steven posted a review one of my brothers’ favorites, Smokey and the Bandit
Well, we can’t agree on everything but that’s what makes blogging fun, right? Eddie reviewed Midnight Special and Jordan reviewed Sing Street, they feel quite differently than I did about each movie.
This week I’m highlighting two movies that deal with forbidden romance, relationships that break the rules of sort, though both are set in very different circumstances. Whether it’s society’s rules of the time or rules mandated by strict employers, the couples in these films face challenges to stay together. Both films are released in November.
Release: November 4, 2016
Director: Jeff Nichols
Writer: Jeff Nichols
Stars: Ruth Negga, Michael Shannon, Joel Edgerton
Richard and Mildred Loving, an interracial couple, are sentenced to prison in Virginia in 1958 for getting married.
Check out the brand new trailer:
“I know we have some enemies. But we have some friends too.” – Mildred Loving
This beautifully-shot film is poised to be a real tearjerker. I love Nichols’ work, as well as Joel Edgerton and Nichols’ muse Michael Shannon. But it’s Ruth Negga‘s performance I’m most looking forward to seeing. I cried just watching this trailer, it’s certainly a timely film, especially in light of recent events in my state as well as in Texas. As a non-White person who have many friends who married people outside of their own race, this is certainly a topic I’m intrigued by. In fact, before I met my hubby who shares my Southeast Asian heritage, back in college I’ve gone on dates with a Latino, as well as Caucasian guys. I remember feeling a bit uneasy walking or dining with my White boyfriend in the small town I lived in, as some older people would stare. I don’t think they meant any harm though, so I can’t imagine what the Loving couple had to go through endure living in 1950s America!
Director Jeff Nichols was able to tell the story of the Loving family as accurately as possible by relying on Nancy Buirski’s documentary The Loving Story (2011), which captured many details of their private lives: “We had this beautiful documentary footage unearthed from the mid-’60s where we got to go into their home and see them and watch them,” Nichols said. “It’s an unusual thing to have access to.” (per IMDb)
RULES DON’T APPLY
Release: November 23, 2016
Produced and Directed by: Warren Beatty
Screenplay by Warren Beatty; Story by Warren Beatty and Bo Goldman
Cast: Alec Baldwin, Warren Beatty, Annette Bening, Haley Bennett, Candice Bergen, Matthew Broderick, Dabney Coleman, Lily Collins, Steve Coogan, Alden Ehrenreich, Taissa Farmiga, Ed Harris, Megan Hilty, Oliver Platt and Martin Sheen
An aspiring young actress (Lily Collins) and her ambitious young driver (Alden Ehrenreich) struggle hopefully with the absurd eccentricities of the wildly unpredictable billionaire (Warren Beatty), who they work for.
It’s Hollywood, 1958. Small town beauty queen and devout Baptist virgin Marla Mabrey (Collins), under contract to the infamous Howard Hughes (Beatty), arrives in Los Angeles. At the airport, she meets her driver Frank Forbes (Ehrenreich), who is engaged to be married to his 7th grade sweetheart and is a deeply religious Methodist. Their instant attraction not only puts their religious convictions to the test, but also defies Hughes’ #1 rule: no employee is allowed to have any relationship whatsoever with a contract actress.
This one seems to have a similar comedic vibe as Hail, Caesar!, and hey, the new Han Solo Alden Ehrenreich is in this, too. Hopefully this one will be a better movie though. It’s also got has an amazing cast, interesting to see Bening & Beatty working together again (after Bugsy & Love Affair in the 90s), haven’t seen either one of them in ages. I haven’t seen Matthew Broderick in a long time either, he looks pretty funny here.
Apparently Warren Beatty first pitched a Howard Hughes biopic as early as 1973. He continually tried to get a film involving Hughes off the ground every year or two since then. One can say it’s a film 40 years in the making. (per IMDb)
I’m a big fan of science fiction films, and the ones that are more *grounded* in our reality, meaning it’s not all sleek and drowned in special effects are usually the most compelling. Midnight Special is certainly one of those films, which in essence is a father/son story.
Right from its opening scene, this film instantly grabbed me and never let up. Two men are on the run with a small boy Alton (Jaeden Lieberher) and the people in a cult organization are hot on their trail. Who the boy is and why he’s so important to the devout followers of this group is not known right away. The only thing we know from the marketing promos is that perhaps he’s from another world as we don’t shoot laser beams from our eyes, nor could we make a satellite fall from the sky. Soon the FBI arrives in the small town in Louisiana and from the interrogations with the cult members, we’re given glimpses of why Alton is so special. As if being on the run is not hard enough, there’s a certain date looming that the runaway group absolutely can’t miss.
I feel that it’s best to experience this film knowing as little as possible. I love discovering more and more about the characters as one layer after another is peeled away. Alton has a very close relationship with his father Roy (Michael Shannon), who we knew in the beginning is his adopted dad. But who is Lucas (Joel Edgerton), the guy helping them get away? I’ll let you figure that out, as that’s part of the fun of discovering the story.
Jeff Nichols wrote and directed this movie and I’m so impressed by his talent as a storyteller. The story is intriguing albeit not completely original and treads some familiar grounds. It reminds me a bit of Spielberg’s E.T. but with its own twist as well as look and feel. Though the story deals with a kid’s special powers, it’s not really the main focus. Instead, it’s more about the relationship of Alton and Roy and why Roy would risk everything, even his own life, to get Alton to where he needs to go. It’s a bond that transcend understanding.
The performances are excellent all around. I haven’t seen Lieberher in anything but despite his young age, this isn’t his first film. He’s able to convey a lot without saying anything, which is tricky even for adult actors. Shannon is truly one of the best actors working today as he’s excellent in everything I’ve seen him in so far, including this one. There’s something enigmatic about him but here he shows a tender, vulnerable side as well. He shares a convincing emotional bond with Lieberher which makes you so invested in their journey. Edgerton is another actor whose work I admire, so it’s cool to see both him and Shannon’s continued collaboration with Nichols (both are featured in his latest film, the Sundance darling Loving). Adam Driver has a supporting role as the NSA officer, sporting geeky chic glasses a la Snowden. He’s quite memorable here and at times provides some comic relief. I have to mention Kirsten Dunst and Sam Shepard as well in small but key supporting roles.
Though mostly serious, the film isn’t devoid of humor and some amusing scenes thanks to some of the roles some of the actor have portrayed. I’m not going to say what that reference is, but let’s just say it has something to do with a superhero from another world who’s also adopted by an earthly father. I appreciate that the film has plenty of quiet moments but by no means slow or tedious. The fact that there’s not much action happening, but when it does, it’s quite effective.
I wouldn’t say the film is perfect however, there are some predictable moments that somewhat lessen the impact. The fact that there are still a lot of unanswered questions about Alton by the end is a bit frustrating. Why did he end up on earth in the first place, why is the daylight harmful to him, why the cult thinks Alton is who they think they are, and so on. That said, there’s enough going for it that Midnight Special was a satisfying ride. Oh and that finale is quite a heart-pounding one. Given all the suspenseful build up, nice to see a pretty powerful pay-off.
Overall it’s an impressive film that offers a unique twist to an often-told sci-fi tale. This one is actually Nichols’ first studio film (with Warner Bros), but given that it’s budget is only $18 mil, the studio still agreed to let him have the final cut. I sure hope that he’ll continue to get as much creative control over his work even as he inevitably transition into bigger-budget films.
So have you seen ‘Midnight Special’? Let me know what you think!
It’s been almost 20 years since the last time Johnny Depp starred in a modern gangster film, the vastly underrated Donnie Brasco. He’s now back playing another true life gangster character, James “Whitey” Bulger, the most violent criminal in South Boston.
Told in a flashback style, the film starts with the integration of Bulger’s crew members. In the 70s, Bulger was just a small time gangster but then rose to the top by becoming an informant to the FBI. We get to see that he has a normal life with a young beautiful wife Lindsey (Dakota Johnson) and a son. His brother Billy Bulger (Benedict Cumberbatch) is the state senator, so we know he has a powerful ally.
We’re then introduced to an FBI agent John Connolly (Joel Edgerton), who happens to be a childhood friend of the Bulger brothers. Connolly wants to move up the ranks in the FBI office and one day asked Whitey to help him bring down the Italian mafia. Whitey was hesitant at first; he doesn’t want to be known as a “rat”. Connolly convinced him otherwise and as the story progresses, we get to see how far both of these men will go to get what they want. For fans of gangster genre, there are not many new things that haven’t been told before cinematically.
Depp has been getting lots of good buzz on his performance and I believe he deserves all the praise. At first I thought I was going to see Depp acting like the usual Depp’s character. But to my surprise, he really shines here as the ruthless gangster who has no hesitation to kill anyone who wronged him or come in his way. Bad makeup aside, he really brought a chilling portrayal of a psychopath and made me believe that this was the real Bulger.
The other standout performance belongs to Edgerton, he plays a weasel FBI agent that reminded me of Matt Damon’s character in The Departed. Cumberbatch didn’t really have much to do and his *Boston* accent was kind of distracting a few times. He did have a very good scene with Edgerton though; it’s a scene you’ll have to see to appreciate.
The last film director Scott Cooper made was the uneven and quite frankly, very frustrating Out of the Furnace. Here he kept the pace moving quite nicely; I’m surprised that he was able to keep the film’s runtime in just over 2 hours. He pretty much borrowed every element from other films such as Goodfellas, The Godfather, The Departed and so on. It’s not a knock on him but I wish he came up with his own style to tell this story.
Even though I thought it’s a good film, I can’t say it’s a great one. This kind of story has been told many times before and I think with a more talented director behind the cameras, this could’ve been a great flick. I’d say see it just for Depp’s and Edgerton’s performances, those two really saves the film from being another average gangster thriller.
So have you seen Black Mass? Well, what did you think?
Happy Midweek everyone! Two more days until Friday 😀 How’s your week so far? It’s kind of a s-l-o-w week for me and there’s been no Instagram updates from my dahling French crush so I’m missing him so much I could barely concentrate on anything today. Yes I live for Stanley Weber these days [sigh]… he is EVERYTHING!!!!
ehm, now that I get that out of the way…
… about those links…
Cindy posted a heartfelt tribute to the late author David Foster Wallace a while back, the subject of the recent film I saw, The End of the Tour
Mark wrote a retrospective piece on Top Gun that got me all nostalgic
In response to the recent box office bomb Fantastic Four, we’ve got a review from Keith that confirmed my dread, whilst Eddie offers up some suggestions on how to fix the franchise.
Two directorial debuts from excellent Aussie actors: Josh wrote about Russell Crowe’s debut The Water Diviner, while Tom wrote about Joel Edgerton’s The Gift
Meanwhile, Natalie reviewed this New Zealand horror comedy Housebound
Last but not least, Chris lists his picks of Best Songs of the Decade so far.
Time for question of the week
The Hateful Eight almost didn’t happen due to a script leak in 2014 by Gawker. If you follow this news, you’d likely know that QT ended up withdrawing the lawsuit against Gawker. At Comic-con last July, Tarantino said that “…it was the first draft that leaked online and he expected to write two more to get to a point where he was ready to shoot” (per THR).
In post-Civil War Wyoming, bounty hunters try to find shelter during a blizzard but get involved in a plot of betrayal and deception. Will they survive?
Check out the brand new trailer:
I’m not a big fan of Westerns, but this one looks intriguing. QT sure knows how to cut a trailer, and the visuals look fantastic, as to be expected. The only thing is, I don’t know if I want to see Wintry scenes right smack dab in the middle of Winter when this movie’s released.
The cast is astounding… We’ve got QT’s perennial favorite Samuel L. Jackson, plus Kurt Russell, Jennifer Jason Leigh, Tim Roth, Demian Bichir, Bruce Dern, Michael Madsen, Amber Tamblyn, Walton Goggins, etc. Channing Tatum gets top billing on IMDb but I barely see him in the trailer (?) I’m bummed that Viggo Mortensen didn’t end up joining the cast because of scheduling conflict.
Fans of 70mm format rejoice! [I’m looking at you Ted ;)] as the film will be shown in its Ultra Panavision 70 presentation. Per IMDb, the film will be released on December 25 of this year as a roadshow presentation in 70mm format theaters only before being released in digital theaters on January 8, 2016.
When I first heard about Baz Luhrmann‘s project to bring F. Scott Fitzgerald’s most famous novel to life, I have to admit I wasn’t too keen on the idea. Then I read that he was going to do the movie in 3D, which prompted an eye-rolling reaction and a shrug. I mean, what could we possibly gain from setting the story in friggin’ 3D?? Heh, as if his style wasn’t over the top enough. But I was willing to give Baz the benefit of the doubt, after all, I adore Moulin Rouge! and to some degree his version of Romeo + Juliet. I feel that the anachronism and grandiose style worked for both films. Thus, going into this film, the question isn’t whether or not it’ll be style-over-substance, but how much of Baz’s signature style is going to get in the way of this classic story.
I have to preface this review with a confession that I have NOT read the book, so I can’t say whether this is a faithful adaptation or not. I downloaded the preview to my Kindle six months ago with the plan to read it before the movie is out, alas I haven’t got around to it. But many of you who had to read this in high school literature class know the gist:
Set during the roaring 20s, the story centers on the mysterious millionaire Jay Gatsby living in the fictional town of West Egg on prosperous Long Island. Just like the book, the story is told from the point of view of a Midwestern-born Yale grad Nick Carraway who rents a small house next door to Gatsby as he commutes to his job as a bond salesman in NYC.
The film starts off stylishly of course, right from the very second the Art Deco frame you’ve seen on all the posters come on screen to reveal the green light at the end of Daisy Buchanan’s house just across from Gatsby’s mansion. For the first 20 min or so, we never see our protagonist, but Mr. Gatsby is featured prominently through Nick’s story to his therapist at the sanitarium that he’s checked himself into. This framing device made me, the audience, feel even more eager to meet Mr. Gatsby, especially to find out just what made Nick so enamored by this character and just what the heck happened that Summer of 1922.
To say the parties at the Gatsby are wildly lavish is a giant understatement. I’ve never seen anything like it, even from Baz himself. Most of the guests aren’t even invited but the booze, confetti and fireworks are never in short supply in this loud and crazy carnival-like soiree. I feel like I was living vicariously though Nick as he tries to wiggle through the crowd to find the elusive host. I quite like the way Gatsby was introduced, as there’s been a pretty effective built-up until that moment.
Just like Gatsby’s party, the film has the undeniably power to enthrall and mesmerize with its opulent extravagance, but at the same time it’s so overwhelming and even headache-inducing. I know I expected the ‘more-is-more’ style from Baz, but he seems to have upped the ante with this one. Perhaps Baz is trying to illustrate just how huge a contrast is between the festive and seemingly-blissful exterior of Gatsby’s life with that of his inner turmoil. The bigger the parties, the emptier Gatsby life is. They say money doesn’t buy happiness. Well, it’s never rings truer than in Gatsby’s life.
The quiet(er) moments in this film come few and far in between, but even when they arrive, I still haven’t quite recovered from the dizzying fracas. One of those moments is when Gatsby is with his lost love Daisy, whom he fell for five years ago and the one he’s been trying to win back ever since. Their reunion scene is actually one of the highlights for me just because it’s so hilarious. Perhaps the lightest segment of the whole film, as the film turns progressively darker. That scene is also one of the most revealing of Gatsby’s character, as beneath of that massive success and wealth, he is such a broken man with such a huge insecurity complex and almost paralyzing self-doubt. At the same time, Gatsby is a man of hope, which is something that Nick admires but also cautions him for.
Carraway: “You can’t repeat the past.” Gatsby: “Can’t repeat the past? Why of course you can!”
There is a fine line between hope and delusion, and Gatsby hasn’t the faintest clue where to draw it. But it’s obvious that his “hope” is more of an illusion. And so is the romance between him and Daisy. Is he in love with Daisy the woman or the idea of being with her? Unlike the romance in Moulin Rouge! where I really feel the heart-wrenching connection between Christian and Satine, I don’t quite feel that with Gatsby and Daisy. Whether that’s intentional or not I don’t know, but I think that becomes a detriment to the story for me as beneath all that longing look and love-struck poetry, mislaid a beating heart. Therein lies the crux of this film adaptation. Perhaps it’s an inherent problem that is least likely to be overcome by most filmmakers, least of whom Baz Luhrmann.
It’s not entirely vapid however, I actually think the bromance (if you want to even call it that) between Gatsby and Carraway speaks to me more than the doomed romance. Leonardo DiCaprio and Tobey Maguire – who are apparently BFFs in real life – have an effortless chemistry and their mutual fondness and respect is palpable. Which brings me to the performances. The scene of just the two of them in the opulent but desolate Gatsby estate is the most heart-wrenching.
I think DiCaprio is quite convincing as Gatsby, I think he embodies the character well and does what he could with the material given. I can’t help but being reminded of his other roles such as in Titanic, Romeo + Juliet and also as Howard Hughes in The Aviator during one particularly intense scene. I think Leo is a talented actor but not exactly a chameleon. Maguire is perfectly cast as Carraway, he definitely projects that naive, Midwestern sensibility and warmth that’s perfect for the role. Now, Carey Mulligan who has impressed me in other roles is pretty good as Daisy, but she doesn’t quite jump off the screen as I expected. I mean she’s believable as someone Gatsby would fall head over heels in love with, but she just isn’t as memorable here somehow.
On the other hand, Elizabeth Debickias the amateur golfer Jordan Baker might prove to be the Aussie actress’ breakthrough role. Fellow Aussies Joel Edgertonand Jason Clarke (who were both in Zero Dark Thirty, but the length of screen time is reversed as Clarke has a smaller role here) also turned in memorable supporting turn, as well as yet another Aussie Isla Fisher. It’s inspired casting to have veteran Indian actor Amitabh Bachchan as the Jewish businessman (most likely a kingpin) and gambler Meyer Wolfshiem. He definitely made an impression despite his short screen time.
Visually speaking, this is definitely a feast for the eyes. Baz is no stranger to creating a fantastical escapist entertainment with spectacular set design, beautiful costumes, and cinematography. Baz’s own wife and frequent collaborator Catherine Martin won an Oscar for Best Art Direction for Moulin Rouge! and she might nab some nominations for this one as well. Now despite my initial quibble about the 3D format, this one turns out to be one of the most effective use of 3D since Martin Scorsese’s HUGO. I still don’t think it’s actually necessary but at least Baz was able to do something innovative with it.
Final Thoughts: I was entertained and even enthralled by the visual spectacle and the music (especially Lana Del Rey‘s lush ballad Young & Beautiful), but ultimately, there’s not much emotional depth to really leave its mark. Whatever poignancy and real pathos in Fitzgerald’s novel is dimmed out by all that glitter, leaving the audience wanting more. “Oh, you want too much!” Daisy cried to Gatsby during one particularly heated exchange. Well, I don’t think we are asking too much as the audience to want more than a snack for our soul to go with all that visual feast.
3.5 out of 5 reels
What are your thoughts of The Great Gatsby? Let’s hear it in the comments!